This disclosure teaches a Bharatnatyam headgear that includes all the ornamentation and that can be worn without much difficulty. Methods for using the Bharatnatyam headgear are also disclosed
The country of India has at least seven forms of classical dances; namely Bharatnatyam, Kuchipudi, Yakshagana, Kathakali; Odishi, Manipuri, Kathak, Sattria and Mohiniattam. Bharatanatyam is the most popular and originated in the state of Tamil Nadu. Bharatnatyam expresses South Indian religious themes and spiritual ideas, particularly those representing stories and mythologies from the triumvirate and various others from the pantheons of Gods and Godesses. Natya Shastra by the venerated sage Bharat muni lays the theoretical foundations of Bharatnatyam. Texts as early as the Silappatikaram from the second century AD detail this dance form. Temple sculptures from the 6th to 9th century CE provide clear evidence that this dance was performed popularly through the first millenia AD. It is the oldest classical dance form in India.
Bharatanatyam uses a fixed upper torso with legs bent or knees flexed and uses a spectacular footwork. A vocabulary of sign language noted for its sophistication is used involving gestures of hands, eyes and face muscles. Live music accompaniment is provided usually with a main vocal musician and other accompanying instrumentalists. It uses an interpretive narration of mythical legends and spiritual ideas from the Hindu texts. The performance repertoire of Bharatanatyam includes nrita (pure dance), nritya (solo expressive dance) and natya (group dramatic dance).
The dress worn by a Bharatnatyam dancer consists of a fitted, brilliantly colored Sari which is mainly of warm colors with reflective pieces attached to it. The sari also has special pleated cloth stitched that falls in front and opens like a hand fan when the dancer flexes her knees or performs footwork. The dress is worn in a special way and typically held in place with a jewelry belt. The dancer is typically adorned with jewelry on her ear, nose, and neck that outlines her head or hair like a chain. Her face has conventional makeup, eyes lined and ringed accentuating her expressions. Her hair is tied up in the traditional way, often braided in with fragrant flowers (veni or gajra). She wears one or more leather anklets (ghungroos or salangai).
The dancer's fingers and feet outlines may be partially colored red with kumkum powder or alta, a costume tradition that helps the audience more easily view her hand and foot gestures.
The head jewelry typically consists of a Jumka which comprises a pair of earrings with an upward extending piece each. A Mattal which is worn on the forehead with a central piece that covers the parting of the hair ending in a round shaped bracelet positioned exactly on the forehead. It has two sidepieces that extend on either sides tracing the hairline on either sides. Surya, a sun piece is positioned on the left side of the head and a Chandra, a moon piece is positioned on the left side of the head. Traditionally all this jewelry is positioned separately on the head and clipped using hair clips.
Typically, for a performance in the late afternoon or evening a dancer has to start the dressing up and makeup process in the morning. After the hair do and facial makeup these jewelry pieces have to be positioned in tis proper places on by one and attached using hair clips. After this, the rest of the makeup is done. The whole process can take upwards of three hours. All the while, the dancer is stressed and tired and her mobility is restricted significantly through the day.
It will be desirable to shorten the process and make it easier for the dancer to wear and position the jewelry in the appropriate place without causing much stress.